Gilbert & Sullivan: THE YEOMEN OF THE GUARD.

D'Oyly Carte Chorus and Orchestra.
Malcolm Sargent, conductor.

Victor 78rpm set C-17 (71381 - 71402).
Recorded in London, October 29 - December 4, 1928 .
Digital transfer by F. Reeder


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Artist/Composer: Malcolm Sargent, conductor
Keywords: G&S; D'Oyly Carte; Malcolm Sargent; operetta; light opera; 78rpm

Creative Commons license: Attribution-Noncommercial-Share Alike 3.0

Notes

Gilbert & Sullivan: THE YEOMEN OF THE GUARD

Sir Richard Cholmondely - ARTHUR HOSKING
Colonel Fairfax - DEREK OLDHAM
Sergeant Meryll - PETER DAWSON
Leonard Meryll - WALTER GLYNNE
Jack Point - GEORGE BAKER
Wilfred Shadbolt - LEO SHEFFIELD
First Yeoman - WALTER GLYNNE / L. GOWINGS
Second Yeoman - HENRY MILLIDGE
Elsie Maynard - WINIFRED LAWSON
Phoebe Meryll - NELLIE BRIERCLIFFE
Dame Carruthers - DOROTHY GILL
Kate - ELSIE GRIFFIN

D'Oyly Carte Chorus and Orchestra
Malcolm Sargent, conductor

ACT I
Overture
When maiden loves
Tower warders under orders
When our gallant Norman foes
Alas I waiver to and fro
Is life a boon?
Here’s a man of jollity
I have a song to sing, O!
How say you maiden, will you wed
I’ve jibe and joke
‘Tis done, I am a bride
Were I thy bride

[Finale, Act I]
Oh, Sergeant Meryll is it true?
Didst thou not, oh, Leonard Meryll!
To thy fraternal care
The pris'ner comes to meet his doom
My lord! my lord!

ACT II
Night has spread her pall once more
Oh, a private buffoon is a light hearted loon
Hereupon we’re both agreed
Free from his fetters grim
Strange adventure
Hark! What was that sir?
Like a ghost his vigil keeping
A man who would woo a fair maid
When a wooer goes a wooing
Rapture, rapture
Comes the pretty young bride
Hold, pretty one!
Oh thoughtless crew!

Victor 78rpm set C-17 (71381 - 71402)
Recorded in London, October 29 - December 4, 1928

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Reviewer: Stephen T - - April 18, 2010
Subject: 1928 Yeomen
This recording is one of my favourites from the 'electric' era, containing as it does a sterling cast of old D'Oyly Carte stalwarts, plus a few notable stock HMV recording artistes of the time. Unfortunately, it also ranks as the most infererior, recording wise, due to the use of (allegedly) a broken microphone*, and the 'blasting' during mixed choral numbers is particularly noticeable here. Despite this difficulty, Mr. Reeder has done another splendid job in bringing the old girl to life, enabling listeners to hear the recording in a new light. My hat goes off to him for his dedication and perseverence.

* Incidentally, I don't subscribe to the 'broken mic' theory. This Yeomen was recorded over a long enough period of time for the error to have been discovered and rectified.